LIBRARY OF CONGRESS, 






UNITED STATES OF AMERICA. 



HAND-BOOK 



OF 



LIGHT GYMNASTICS 



By LUCY B. HUNT 

LATE INSTRUCTOR IN GYMNASTICS AT SMITH COLLEGE 
NORTHAMPTON MASS. 






NEW EDITION 




BOSTON 
LEE AND SHEPARD PUBLI'SHERS 

NEW YORK CHARLES T. DILLINGHAM 
1890 



V\x 






Copyright, x88i, 
By Lee and Shepard 



Copyright, 1889, 
By Lie and Shepard. 



A II rights ?-eserved. 






CONTENTS. 



PAGE 

Introduction 7 

Free Gymnastics ii 

Wand Exercises 21 

Ring Exercises 27 

Dumb-Bells . ^35 

Percussion .46 

Mutual Help Exercises . . . - 49 

Bean-Bags 52 

Marching - 54 

Chapter on Dress 80 

Gymnastic xVlusic ..,,,.§§ 



PREFACE. 



TN the preparation of this little handbook 
-^ of light Gymnastics, I have had in view 
the often-expressed vs^ant of many ; which 
want, so far as I can learn, no one has yet 
attempted to supply. It is not intended to 
compete with, or take the place of, the many 
valuable works on this subject by Dr. Dio 
Lewis and others ; but to give, in an inexpen- 
sive form, a condensed yet clear description 
of the various exercises. 

Most books that have been thus far pub- 
lished, are, by reason of illustrations and the 
additional subjects treated, both expensive 
and bulky. 

Taking the Dio Lewis system as a founda- 
tion,! have, during the experience of many 



6 Preface. 

years' teaching, added to, taken from, and 
altered various exercises, resulting in the 
order now published for the first time in 
these pages. 

I claim, therefore, originality in the arrange- 
ment, and in a greater part of the marching 
figures. 

While this book is intended and prepared 
for the use of my own pupils, and for teachers 
in colleges and seminaries, it is hoped that it 
will prove a convenient guide to those who 
wish to carry on these exercises at home. 



INTRODUCTION. 



The exercises here given having been care- 
fully selected, and thoroughly tested, can be 
practised by any person in ordinary health 
without injury, if the following conditions are 
observed : 

Never over-work, particularly at the begin- 
ning, and avoid all exposure and draughts 
while resting between and after the exercises. 

Go into the gymnasium regularly, without 
omitting a day, and always in a dress that is 
correct in every particular. 

Attention is called to the carefully pre- 
pared chapter on the gymnastic suit. 

In all these exercises, the movements are 
to be performed steadily and gradually, and 
never with a sudden jerk. Beginning with 



8 Xiight Gymnastics. 

care and using but little force, increase in 
vigor from day to day, till all the changes are 
marked with that precision and dash so es- 
sential to their perfect performance. 

All movements of the head and body must 
be slow^ compared v^ith those of the limbs. 
What are called free gymnastics, being per- 
formed without apparatus of any sort, I place 
as the simplest form of exercise at the begin- 
ning of the list. 

The wands come next, and are much easier 
than the rings and dumb-bells, always provided 
that the wand is of the requisite length, viz. ; 
just reaching to the armpit when placed on 
the floor at one's side. The rings are, in my 
estimation more open to objection than any 
other exercise, owing to the almost unavoida- 
ble inequalities in strength, and length of arm- 
reach, of those taking part. Great care should 
be shown in selecting partners, and teachers 
should insist that they be about equal in 
height, and general strength. Then there 
can be no possible danger in these exercises 



Introduction. 9 

which, in some respects, are the most beauti- 
ful of all forms of gymnastic work. The 
Quartette exercises, when rendered with pre- 
cision and in perfect unison with the music, 
are particularly effective. The dumb-bells, 
with the anvil chorus, must always be taken 
very slowly. The list of club exercises I 
shall omit from this book. While they are, 
for obvious reasons, very valuable, they are 
more difficult than many others as bringing 
into play for a longer time unused muscles ; 
and they are also extremely difficult to de- 
scribe without the aid of illustrations. 



FREE GYMNASTICS. 



Position : stand with heels together, hips 
and shoulders back, hands firmly closed and 
well back upon the chest. 

First Series. 

Each number fills a strain of music except 
when otherwise specified. 

No. I. Thrust right hand down twice, left 
twice, alternately twice, together twice. 

No. 2. Repeat No. i, only thrust hands 
out at sides instead of down. 

No. 3. Repeat No. i, thrusting hands di- 
rectly up. 

No. 4. Repeat No. i, thrusting hands from 
shoulders directly forward. 

No. 5. Right hand down once, left once, 



12 Light Gymnastics, 

drum beat (the right hand a Httle in advance 
of left) once, together once, half a strain. 

No. 6. Same exercise, thrusting out at 
sides instead of down. 

No. 7. Same exercise, only thrusting di- 
rectly up. 

No. 8. Same exercise, only thrusting di- 
rectly forward from shoulder. 

No. 9. Right hand down once, left once, 
then clap hands through rest of the strain. 

No. 10. Same exercise, out at sides. 

No. II. Same exercise, directly up. 

No. 13. Same exercise, out in front. 

No. 13. Hands on the hips, step with right 
foot forward, then diagonally forward, directly 
at side, diagonally back, directly back, cross 
back of left, cross again still farther back ; 
lastly cross in front of left foot, returning to 
position after each step. 

No. 14. Repeat No. 13, with left foot. 

No. 15. Stamp with right foot forward 
three times, advancing each time, then left 
three times. Stamp three times back with 
right foot, same with left. 



Free Gymnastics. 13 

No. 1 6. Repeat No. 15. 

No. 17. Hands still on hips twist body 
alternately to right and left, twice each ; four 
beats of music. 

No. 18. Bend body alternately to right and 
left, four beats of music finishing the strain. 

No. 19. Bend body alternately forward and 
back, twice each. 

No. 20. Bend body first right, then back, 
left, front ; reverse, left, back, right, front, 
finishing the strain. 

No. 21. Same as No. 17, only twist the 
head. 

No. 22. Same as No. 18, only bend the 
head instead of the body. 

No. 23. Same as No. 19, with head only. 

No. 24. Like No. 20, bend head instead of 
body, right back, left, front, then reverse. 

No. 25. Arms extended in front, bring 
them forcibly back to chest eight times. 

No. 26. Arms again extended, raise right 
hand twice without bending the elbow, then 
left twice, alternately twice, together twice. 



14 Light Gymnastics. 

No. 27. Hands closed on chest, thrust 
down, out, up, and m front, twisting the arms 
each thrust ; repeat. 

No. 28. Thrust hands from chest toward 
floor without bending the knees, stop on chest, 
then over head, rising on toes, and opening 
hands at each thrust, continue in half time 
through strain. 

No. 29. Cross left foot over right, at same 
time touching fingers over head ; then right 
foot over left, alternately in half time through 
the strain. 

No. 30. Stamp left foot, then right, charge 
diagonally forward with right foot, bend and 
straighten right knee, at the same time carry- 
ing arms back from horizontal in front. 
When the arms are extended in front, the 
hands should be the width of the shoulders 
apart. 

No. 31 . Repeat this exercise on the left side. 

Second Series. 
Position same as before. 
No. I. Thrust right hand from chest down, 
then up, twice, same with left hand. 



Free Gymnastics. 15 

No. 2. Same alternately, right hand going 
down first as left goes up. Both down, then 
up twice each. 

No. 3. Thrust right hand out at right side, 
i|-;(m cross to left alternately through the 
s^train, twisting the body when turning to 
left. 

No. 4. Thrust left hand out at left side, 
then cross to right, twisting body at right. 

No. 5. Thrust both hands to right and left 
lev^i with shoulders, alternately through th.- 
strain, twisting body each time, but keeping 
feet still. 

No. 6. Thrust both hands out at right side 
four times, then to left four times. 

No. 7. Thrust right loot forward and down 
three times, stamping floor on fourth beat, 
same with left foot. Thrust right foot back 
three times, then left, stamping on fourth beat 
each time. Two strains of music. 

No. 8. Hands down at sides, raise right 
arm over head without bending elbow, twice, 
then left twice, alternately, then togethei 
twice. 



16 Light Gyyyinastics. 

No. 9. Arms down at sides, raise right to 
the side of liead twice, then left twice, 
alternately twice, then together twice. 

No. 10. Arms extended in front, swing 
them back horizontally eight times. 

No. II. Hands down at sides, raise right 
slioulder twice, left twice, alternately twice, 
together twice. 

No. 13. Hands down at sides, open and 
shut the fingers four times, out at sides four 
times. 

No. 13. Same over head, same with arms 
extended in front. 

No. 14. Mowing movement with both 
arms from right to left then from left to right, 
bending the body forward from the hips. 

No. 15. Hands on hips, thrust elbows back 
eight times. 

No. 16. Bend body to right, thrust the 
hands forv/ard and downward, alternately, 
four times ; the same on the left side. 

No. 17. Repeat No. 16. 

No. 18. Swing arms around, hitting chest 



Free Gymnastics. 17 

(as teamsters warm their hands), right hand 
above and then left, eight times. 

No. 19. Hands on hips, stamp left foot, 
then right, step diagonally forward with right 
foot, sway back and forth, bending right and 
left knees alternately. 

No. 30. Repeat No. 19 on left side. 

No. 21. Repeat No. 19, stepping back in- 
stead of forward with right foot. 

No. 22. Repeat No 21, with left foot. 

Third Series. 

Position : heels together, hands on hips. 

No. I. Stamp seven times quickly with 
right, once slowly with left, once with right, 
then step diagonally forward with right foot, 
shoulders back, fill the lungs, then percuss 
the chest through the rest of the strain. 

No. 2. Repeat on left side. 

No. 3. Repeat, stepping back with right 
foot on right side. 

No. 4. Repeat, stepping back on left. 

No. 5. Clasp hands behind the back, raise 
and thrust down with force eight times. 



18 Light Gymnastics. 

No. 6. Hands down at sides, twist them 
four times half round, same out at sides. 

No. 7- Repeat over head, repeat with arms 
extended in front. 

No. 8. Arms extended in front, pahns to- 
gether, without bending the elbows, slide right 
and left hands alternately through the strain. 

No. 9. Hands closed firmly under the arm- 
pits, thrust right hand down twice, left twice, 
alternately twice, together twice. 

No. 10. Hands upon shoulders, repeat No. 
9, only thrusting up instead of down. 

No. II. Right hand down from armpit, 
left hand up from shoulder, alternate through 
four beats. 

No. 12. Thrust hands down from armpits, 
and up from shoulders alternately through 
the strain. 

No. 13. Hands down at sides, carry right 
arm twice to the horizontal position in front, 
stopping suddenly with arm on a line with 
shoulder, left arm twice, alternately twice, 
tosrether twice. 



Free Gyyniiastics. 19 

No. 14. Carry the arms to the perpendicu- 
lar, and then move them with the whole body 
from side to side, keeping elbows stiff through 
the strain. 

No. 15. Thrust right down, left out, right 
out, left up, right up, left out in front, right 
out in front, left down. 

No. 16. Repeat No. 14. 

Chorus. 

Music, "Yankee Doodle," always. 

Position, heels together, hands closed on 
chest. 

No. I. Repeat No. i of first series. 

No. 2. Clap hands through the strain. 

No. 3. Percuss chest through the strain. 

No. 4. Hop on right foot four times, then 
on left four times. 

No. 5. Repeat No. 2, first series. 

No. 6. Clap hands through strain. 

No. 7. Percuss the chest. 

No. S. Hop on right and left feet alter 
nately four beats, together four beats. 



20 Light Gymnastics, 

No. 9. Repeat No. 3, first series. 

No. 10. Clap the hands. 

No. II. Percuss the chest. 

No. 12. Take long sl^ipping steps, riglit 
then left foot alternately through the measure. 

No. 13, Repeat No. 4, first series. 

No. 14. Clap the hands. 

No. 15. Percuss the chest. 

No. 16. Take twisted step, one foot cross- 
ing the other through the strain. 

Cautions. 

Keep the heels together and hips back, un- 
less the exercise otherwise directs. The arms 
overhead should always be with elbows un- 
bent. Inhale before percussion. 

These exercises should be taken slowly and 
with caution at first. As the strength in- 
creases, greater rapidity and force should be 
employed. 

Music for the free gymnastics must always 
be either in galop or polka time. The polka 
is better for the first series when taken alone ; 
the galop for the others. 



WAND EXERCISES. 



Position : heels together, hips and shoulders 
well back. The wand is held in front of the 
right shoulder, till first signal from the piano, 
which consists of three chords struck with 
both hands, the first being the length of the 
other two ; then drop it horizontally in front 
of the body. At second signal raise the 
wand till the arms are extended in horizontal 
position in front of body, place the hands so 
as to divide the wand into three equal parts. 
At third signal, carry the wand back to sec- 
ond position down in front. 

No. I. Raise the wand to chin four times, 
keeping elbows high, last time carry it abov 
the head, then bring down under chin foul 
times. 

No. 2. Carry wand from above the head 



22 Light Gymnastics. 

nearly to floor, four times, without bending 
knees or elbows, then down back of the neck 
four times. 

No. 3. Carry wand from above the head to 
chin, and then back of neck, alternately four 
times each. 

No. 4. Wand over head. On first beat, 
carry right hand to right end of wand, on 
second beat, left hand to left end, then carry 
hand back of head to hips, six times, keeping 
elbows stiff''. 

No. 5. Carry wand back from above head 
down nearly to floor ; and then back to hips, 
four times, alternately four times each. 

No. 6. Carry wand from above the head to 
right and left sides alternately eight times, 
keeping elbows stiff* and stopping exactly 
over head each time. 

No. 7. On first beat, let go wand with left 
hand, place end of wand on ffoor betsveen 
feet. On second beat place wand on floor at 
arms length, diagonally forward "on right 
side. Step with right foot to wand through 



Wand JExercises, 23 

rest of strain, keeping right arm, left knee 
and wand perfectly straight. 

No. 8. Repeat No. 7 on left side. 

No. 9. Repeat No. 7, keeping the foot sta- 
tionary, the knee bending with each accented 
beat. 

No. 10. Repeat No. 9 on left side. 

No. II. Arms horizontal in front, wand 
held perpendicularly, bring wand back to 
chest eight times keeping elbows high. 

No. 12. Wand and arms in same position, 
bring wand to right and left shoulders alter- 
nately, four times each. In passing the 
wand from one side to the other, raise the 
arms straight to a horizontal position in front. 

No. 13. Hands in front of chest, point 
wand diagonally forward at an angle of forty- 
five degrees, first to the right, then to the left 
alternately through strain, making the change 
of hands just in front of chin. 

No. 14. With wand pointing in the same 
direction as in last exercice, step diagonally 
forward with right and left foot alternately 
throueh strain. 



24 Light Gymnastics. 

No. 15. Repeat No. 14, only step back 
instead of. forward, leading with left foot in- 
stead of right, keeping wand pointing for. 
ward. 

No, 16. Wand horizontal over head, right 
hand in front, reverse position, bringing left 
hand in front, on half time through strain. 

No. 17. Same position, right face, bend 
forward bringing wand to perpendicular on 
right side, four times. 

No. 18. Repeat No. 17 on left side. 

No. 19. Same movement from side to side 
changing wand over head. 

No. 20. On first beat, put left end of wand 
on floor in front of feet ; on second beat, carry 
wand at arm's length in front, charge right 
foot to wand twice, left four times, chang- 
ing hands and feet at same time. 

No, 31. Right foot back four times, right 
hand on wand, same with left hand and foot. 

No. 22. Right foot forward and back four 
times, left the same, holding wand in same 
position as last exercise. 



Wand Exercises. 25 

No. 23. Both hands on wand in front, 
right foot forward, left back at the same time, 
reverse and repeat. 

No. 24. Front face, place the wand per- 
pendicularly in front of right shoulder, left 
hand up, carry to front of left, with right 
hand up eight times. Then carry the wand 
from front to back of right, then from back of 
risfht to back of left eisrht times. On the 
fourth time carry from back of right to front 
of right four times. 

No. 25. Wand in front of right shoulder, 
carry to front of left, then back of left, back 
of right, front of right, repeat, then reverse. 

No. 26. Wand in front of right shoulder, 
carry to back of left four times, then front of 
left to back of right four times. 

No. 27. Right face, left end of wand on 
floor, charge right foot to right side, then 
back, cross back of left foot, then in front of 
left, repeat with left foot. 

No. 28. Repeat No. 27, using right and 
left foot alternately. 



26 Light Gymnastics. 

No. 29. Front face, place wand in front of 
chest, right hand down, left down alternately 
eight times. Repeat the exercise with wand 
carried down behind the back. 

No. 30. Step diagonally forward, wand 
behind the back, right end of it up at an 
angle of forty-five degrees ; then step left foot 
forward, left end of wand up. 

No. 31. Place wand horizontally in front, 
on first beat carry to perpendicular on right 
side, then to left through the strain. 

No. 32. Carry wand horizontally over 
head, down in front, and charge with wand 
same as 31, only charge through strain with 
right and left foot alternatel}^ through the strain. 

Caution. 

Always select a wand just long enougn to 
reach the armpit when placed on the floor at 
one's side. All exercises from behind the head 
or back should be taken with -caution, and 
avoided altogether by those with weak backs. 

Music. 
Schottische time is the best, but slow 
marches and quicksteps can be used. 



RING EXERCISES. 



These exercises are performed in couples ; 
partners facing each other about three feet 
apart ; the one standing on right of teacher 
on platform, holding both rings. 



First Series. 

No. I. On first beat of the music, tlie ring 
in right hand is extended, and grasped by 
partner's right hand. Second beat, right feet 
together, toes touching, on third beat left feet 
back at right angles with right feet, with left 
hands upon the hips. Turn the ring over 
half way and then back to place through rest 
of strain, keeping perfect time. 

No. 2. Repeat No. i, only use left hand 
and left foot instead of right. 

27 



28 Light Gymnastics. 

No. 3. Repeat No. i, only first join both 
hands, on second beat right feet together, 
third beat step back as before, turn rings 
through strain. 

No. 4. Repeat No. 3, with both hands 
joined and left feet touching, right feet back, 
turn rings through strain. 

No. 5. On first beat, turn back to back, on 
second beat left feet together, charge directly 
forward with right feet ; head and shoulders 
well thrown back pull evenly with partner, 
and turn the rings through strain. 

No. 6. Repeat No. 5 with right feet to- 
gether, left out in front, turn rings through 
strain. 

No. 7. On first beat, turn face to face, on 
second beat raise arms above head, then lower 
rings without bending knees, looking alter- 
nately to right and left of partner through 
strain. 

No. 8. First beat, lift arms towards plat- 
form, high up at side, the others low down at 
the opposite side, carry them alternately up 



Ring Exei'cises. 29 

and down through half the strain, then botli 
together, half a strain. 

No. 9. First beat, turn back to back, sec- 
ond beat, face up and down the hall, har,:!s 
at once on shoulders thrust up, out and down, 
twice each. 

No. 10. Same position, thrust up, out and 
down, once each, then repeat till strain ends. 

No. II. First beat, step back to position, 
second beat, turn face to face, third beat, put 
left foot inside partner's left, left knee pressed 
against partner's left, fourth beat, right foot 
back, long step at right angles with left. 
Your own right hand and ring against your 
right shoulder, left hand against partner's 
right. Thrust with vigor from shoulder to 
shoulder through strain. 

No. 12. Repeat No. 11, with right feet 
together instead of left, position of hands 
reversed. 

No. 13. First beat, turn back to back, 
charge diagonally forward with right and left 
feet alternatelv throus^h strain. 



30 Light Gymnastics. 

No. 14. First beat, turn face to face, place 
left foot inside partner's left, short step back 
vvith right foot at right angles with the left. 
Rings over head held firmly, arms perfectly 
straight, sway alternately through the strain. 

No. 15. Repeat No. 14, with right feet 
together instead of left. 

No. 16. First beat, turn back to back, 
charge up and down the hall alternately twice 
each ; charge with right feet at same time, 
then left feet at same time, alternately through 
rest of strain. 

No. 17. First beat, turn face to face, re- 
peat No. 16. 

No. iS. Fir,st beat, turn back to back, 
raise outside, then inside arms alternately, 
then charge on fifth beat directly forward ; 
raise both hands rest of strain. 

No. 19. First beat, face up and down the 
hall, second beat, turn face to face, third beat, 
spring apart, right feet pointing toward each 
other, left feet back a short step at right an- 
gles with the right feet. Right hands grasp- 



Ring Exercises. 31 

ing rings, charge with riglit feet to right of 
partner, stopping each time suddenly when 
back to position. 

No. 30. Repeat No. 19, using right foot 
for left, right hand for left. 

No. 21. Repeat No. 19, holding rings in 
both hands, and charp^ins^ risrht and left alter- 
nately, right foot to left side, left foot to right 
side. 

No. 22. First beat, approach partner, sec- 
ond beat, turn back to back, third beat, foce 
across the hall, place left feet together, fourth 
beat, step out with right foot, touching shoul- 
ders, sway througli the strain. 

No. 23. Repeat No. 23, using right for 
left, and left for right. 

No. 24. First beat, turn face to face, sec- 
ond beat, face up and down the hall, swing 
up outside and inside arms alternately ; turn 
face and body each time. This is called the 
mirror. 

No. 2^. First beat, turn back to back, 
swing over outside and inside arms alter- 
nately twice, each; then together twice. 



32 Lifjlit Gymnastics. 

No. 26. First beat, turn face to face, with 
outside arms, second beat, back to back, with 
outside arms, repeat with inside arms. 

No. 27. First beat, face across the hall, 
turn back to back ; second beat, left feet 
together, third beat, swing hands over head 
and step forward with right foot, bend and 
straighten right knees. 

No. 28. Repeat No. 27, with right feet 
together instead of left. 

No. 29. First beat, turn face to face, step 
alternately right feet diagonally forward to 
left of partner, and left feet to right of part- 
ner through strain. 

Quartette Exercises. 

Position : four stand together, facing each 
other, and at arm's length. Each holds a 
ring in her right hand. 

No. I. First beat, join hands, second beat, 
step to the centre with right and left feet, 
alternately raising hands high through strain. 

No. 2. First beat, all step to the centre, 



Bing Exercises. 33 

lifting the hands high, step back with right 
and left feet alternately through strain, carry- 
ing rings down. 

No. 3. Arms lifted and held firmly, skip 
through strain, all keeping perfect time and 
leading with right feet. 

No. 4. Outside couple, or couple farthest 
from platform, pass under the raised arms of 
the other couple ; and on third beat, rings on 
shoulders, all thrust at same time, hands up 
through the strain. 

No. 5. The four standing facing ends of 
hall charge up and down the hall, lifting rings, 
the others charge directly at the side lifting 
rings, all charge together diagonally forward, 
first with right then with left foot, then repeat 
the whole. 

No. 6. Lift hands towards ends of hall, 
then lift hands towards sides of hall. Lift all 
the hands twice. Repeat the whole. 

No. 7. Stamp first with right foot, then 
with left, charge diagonally forward with 
right foot, hands held high over head, sway 
during strain. Repeat stamping first with 
left foot. 



34 Light Gymnastics. 

Caution. 

In all exercises, turning back to back, be 
careful and not pull suddenly, and never let 
Gfo the ring before the word is given. 

Always stand at such a distance from next 
couple that there can be no hitting of rings. 

The rings should always be strongly made, 
and about six inches in diameter. 

Music. 
The simplest of Strauss's waltzes must be 
used, or those of other composers similar in 
style. 



DUMB-BELLS. 



Position : Heels together, hips and shoul- 
ders back, bells down at sides. One-half of 
each strain of music is given to the exercise, 
the other half to what is called '' the attitude." 
In taking these attitudes the bells are brought 
first to the chest ; then, unless otherwise 
specified, placed upon the hips. 

No. I. Hands down at sides, palms in 
front, turn bells four times, bring-ing them to 
chest on fourth accented beat. 

Attitude: Step diagonally forward with 
riglit foot, carrying hands to hips, looking 
over right shoulder. 

No. 2. Elbows at sides, turn bells I'ust 
half-way round four times. 

.Attitude: Step diagonally forward with 
left foot, looking- over left shoulder. 



36 Light Gymnastics. 

No. 3. Arms extended at sides, turn bells 
four times. 

Attitude : Step diagonally back with right 
foot, looking over right shoulder. 

No. 4. Arms extended over head, palms 
in front, turn bells four times. 

Attitude: Step diagonally back with lef? 
foot, looking over left shoulder. 

No. 5. Bells far back on chest, thrust 
both down, out at sides, up, and out in 
front. 

Attitude: Turn to the right, throw arms 
up at side without bending the knees. The 
bells in this attitude should be exactly hori- 
zontal and parallel. 

No. 6. Repeat No. 5, turning to the left 
and throwing the arms up on left side. 

Attitude: Repeat attitude No. 5. 

No. 7. Drop bells at sides, right hand up 
to armpit once, left once, together 'twice. 

Attitude: Drop to sitting position, bells 
touching the floor, rest through the remainder 
of the strain 



Dumb-Bells. ii^ 

No. 8. Bells on shoulders, thrust each wp 
once, both together twice. 

Attitude: Rise on toes, palms forward, 
bells parallel. 

No. 9. Arms extended in front, turn four 
times. 

Attitude: Step diagonally forward with 
right foot, right hand on hip, looking back 
at left bell, which is extended in left hand. 

No. 10. Arms extended sideways at an 
angle of forty-five degrees, turn bells four 
times. 

Attitude: Step forward with left foct, 
left hand on hip, looking back at right be 11, 
which is extended in right hand. 

No. II. Bells on chest, right hand down, 
then up, left hand the same. 

Attitude: Turn body to right, thrust right 
hand obliquely up, palm up ; left hand ob- 
liquely down, palm down. 

No. 12. Bells on cliest, right hand up. 
left down ; reverse, then both down, both up. 

Attitude : Turn to left, thrust hands up 
arid down as in No. 1 1. 



38 Light Gymnastics. 

No. 13. Arms extended in front, palms 
opposite, right hand up once, left the same, 
both together up twice. 

This should be done without bending the 
elbows. 

Attitude: Step diagonally forward with 
right foot, the body and head thrown for- 
ward, and arms thrown wide apart. 

No. 14. Repeat No. 13. 

Attitude: Repeat attitude No. 13 on the 
left side. 

No. 15. Arms extended at sides, right 
arm up once, left once, both twice, without 
bending the knees. 

Attitude : Step diagonally back with right 
foot, right hand up, with bell perpendicular, 
left hand on hip. 

No. 16. Repeat No. 15. 

Attitude : Repeat attitude on left side. 

No. 17. Arms extended, with bells par- 
allel in front, bring the bells back forcibly 
upon the chest four times. 

Attitude : Fold the arms with bells closely 
pressed against the chest, and bend back 
slowly from the waist. 



Dumb-Bells. 39 

Second Series. 

In this series the attitudes precede the ex- 
ercises. 

Position : Same as in the first exercise, 
with bells down at sides. 

Attitude No. i. Stamp left foot, then 
right, step out at right side with right foot, 
right arm obliquely up, left arm obliquely 
down, both palms dow^n, sw^ay. Repeat on 
left side, four beats on each side. 

Exercise. Bells dowai at sides, swing 
right bell up to perpendicular over head 
twice, left bell tw'ice, alternately twice, both 
together twice. 

No. 3. StamjD as before, first left foot then 
right ; step to right, with right arm lifted 
a little above the shoulder, the bell perpen- 
dicular, left on shoulder. Repeat on left side. 

Exercise. Bells down at sides, swing 
right bell sidew^ays uj) to perpendicular over 
head tw^ice, left bell twice, alternately twice. 

No. 3. Stamp left foot, then right, step 
with right foot to right side, carry both bells 
over head, sway twice. Repeat on left side. 



40 Light Gymnastics. 

Exercise. Hands down in front of knees, 
with fingers clasping bells together, describe 
circle over head from right to left and from 
left to right, alternately, separate hands over 
head on last beat. 

No. 4. Stamp left foot, then right, long 
diagonal charge, as it is called, on the right 
side, bells thrust forward from shoulders, 
twice through half strain of music. Repeat 
on left side. 

Exercise. Elbows high, and bells under 
the chin. Thrust elbows back through whole 
of strain. 

No. 5. Stamp left foot, then right, take 
short step diagonally forward with right foot, 
thrust bells up, then down, stopping on line 
with shoulders, then nearly to the floor. Re- 
peat on left side. 

Exercise. Horizontal sweep with arms, 
carrying bells from just in front to side, stop- 
ping on line with shoulders. 

No. 6. Short diagonal charge, stepping out 
on right side, thrusting bells up and back twice 
from the shoulders. Repeat on left side. 



Dunib-Bells. 41 

Exercise, Thrust both bells up on right 
side, then on left, without moving the feet 
through whole of the strain. 

Ko. 7. Short diagonal charge, stepping 
back on right side, thrust bells up twice 
from shoulders. Repeat on left side. 

Exercise. Bells on chest, thrust left hand 
forward, then right, alternately through the 
strain. 

No. S. Long side charge, stamp left, then 
right, step directly to right, with right bell on 
hip, left down at side, swing left up to side of 
head on fifth beat, turning the hand over on 
its way up to position. Repeat on left side. 

Exercise. Right iiand following left in 
the order of No. 14, third series Free Gym- 
nastics. 

No. 9. Stamp three times with left foot, 
stepping diagonally forward with each stamp, 
looking back at the same time, twisting the 
right bell, with right arm thrust up and back. 
Repeat on left side. 

Exercise. Step diagonally forward with 
right and left feet alternately, arms extended, 



42 Light Gymnastics. 

as in last attitude, then step at right side, and 
left arms extended obliquely as in No. i, 
two beats. Repeat the step with arms as in 
No. 3, two beats. 

No. 10. Bells on shoulders, thrust right 
out, palm up, twice, left twice, alternately 
twice, both together twice. 

Exercise. Bring bells from shoulders to 
chest, thrust directly forward, raise over head, 
back to first position, then nearly touch the 
floor. Repeat the whole. 

No. II. This is called French, or small- 
sword exercise : Stamp left foot, then right, 
tben mark time two beats with right foot, 
stamp twice out at side \vith same, right arm 
extended, left arm curved over the head, bell 
down. 

No. 12. Repeat on left side. 

Anvil Chorus. 

First position : Left arm extended in front, 
right bell back of head on shoulder. 

No. I. Strike left bell down with the 
right, exactly reversing their positions, repeat 



Dwnh-Bells. 43 

the movement with left bell, swing right bell, 
striking left bell from under, instead of over. 
This occupies four beats. 

No. 2. Step diagonally forward with right 
and left feet alternately, striking bells over 
head. 

No. 3. Repeat No. i. 

No. 4. Repeat No. 2, only stepping diag- 
onally backward instead of forward, alter- 
nately through the strain. 

No. 5. Repeat No. i. 

No. 6. Swing bells to the front with arms 
extended, strike once in front, once back of 
the body, once over head ; repeat, then strike 
once over head, and once more behind the 
back. Bring bells back to first position. 

No. 7. Repeat No. i. 

No. 8. Arms extended, strike bells first 
on one end, then on the other alternately 
through the strain, liftiilg the bells slowly 
with each stroke until on the last they are on 
a level with the eyes. 

No. 9. Repeat No. i. 



i4 Liy/it Gj III nasties. 

No. lo. Step out (lirectiy at right side, 
bending right and left knees alternately. 
While swaying thus, strike left bell on right 
which is extended in the right hand. 

No. II. Repeat No. i. 

No. 12. Repeat No. lo, on left side. 

No. 13. Repeat No. i. 

No. 14. Take a short step diagonally for- 
ward with the right foot, place the left bell on 
right knee, and while swaying as in No. 10, 
strike bell on knee with right bell, carrying 
the latter in a complete circle. 

No. 15. Repeat No. i. 

No. 16. Repeat No. 14 on left side. 

Double Anvil Chorus. 

Stand in two lines facing partner, take 
Exercise No. i, striking partner's bell each 
time ; then charge with right foot each, 
through the strain, anvil pai;t of No. i, again 
charge on the left, anvil part, striking bell 
on partner's left knee, again the one on 
right knee ; anvil part again. Now strike 



Dumb-Bells. 45 

partner's bell extended in her left hand ; re- 
peat on bell of left hand neighbor's bell, 
extended in her right hand. Repeat last ex- 
ercise of single anvil chorus. 

Caution. 

Step carefully but quickly to all the atti- 
tudes. 

Rest oftener than in the other exercises. 

Use too light rather than too heavy dumb- 
bells. 

Music. 
Old-fashioned waltzes like the " Boston 
Dip " are best for these exercises. Scotch 
airs, and airs from popular operas in this 
time can easily be adapted by a skilful musi- 
cian. For the Anvil Chorus the air from the 
opera of ''II Trovatore" called "Anvil 
Chorus " is used. 



PERCUSSION. 



This exercise has special value for those 
who are not vigorous, and for all at the close 
of a lesson, as it aids greatly in giving a gen- 
eral glow to the system, and will prevent 
lameness afterward. What timid beginners 
fear to be actual injury is often nothing but 
muscular soreness, which may be wholly 
removed by a little brisk percussion, or rub- 
bing the parts affected with a coarse towel or 
a brush. 

I do not give this exercise, however, any 
prominence for use in large classes, as it is 
almost impossible, from the nature of the ex- 
ercise, to preserve order or regularity. The 
sound of so many hands drowns not only the 
teacher's voice but the music itself. 

46 



Percussion. 47 

The following order suggests what may be 
used with profit by moderate-sized classes, 
and by single individuals : — 

Position : Couples stand facing the same 
way, the one in front bending slightly for- 
ward with arms folded for the first exercise, 
keeping perfectly erect in all the others. 
Partner stands ready to begin on first beat of 
the music. 

No. I. Percuss the shoulders quickly, then 
reverse the position and repeat. 

No. 2. Percuss the small of the back. 
Reverse, and repeat. 

No. 3. Percuss right side, under uplifted 
arm. Reverse, and repeat. 

No. 4, Percuss left side. Reverse, and 
repeat. 

No. 5. Percuss both sides. Reverse, and 
repeat. 

No. 6. Percuss extended right arm, which 
is constantly turned from right to left. Re- 
verse, and repeat. 

No. 7. Percuss extended left arm. Re- 
verse, and repeat. 



48 Light Oymnastics. 

No. 8. Percuss both arms. Reverse, and 
repeat. 

No. 9. Percuss chest, not too vigorously. 
Reverse, and repeat. 

Cautions. 

Avoid changing position in the line, and 
keep perfect time. Percuss gently at first, 
and always alternating the blows; viz., one 
hand, the left, following the right. Never 
use the hands simultaneously. 

Music : Jigs must always be used, but 
played only moderately fast. 



MUTUAL HELP EXERCISES. 



These, like percussion, are not particularly 
desirable for large classes, but are valuable as 
affording complete change, and they can also 
be performed without the aid of music. 

Position : The class by threes all stand 
facing the teacher, with heels together and 
hands down at sides. 

No. I. The one in middle steps forward, 
with arms down at sides, hands firmly closed, 
and draws them slowly up to armpits, while 
those at sides with hands on wrist and shoul- 
ders resist forcibly. 

No. 3. Middle one steps back, arms ex- 
tended in front, draws them back to chest, 
then thrust them out again, the others resist- 
ing as before. 



50 Light Gymnastics. 

No. 3. Middle one forward, arms thrust 
up, bring slowly back to shoulders, and thrust 
up again, others resisting. 

No. 4. Middle one foi-ward, arms thrust 
out at sides, bend forearm while others resist. 

No. 5. Middle one forward, arms ex- 
tended in front, carry back to horizontal at 
sides, while others resist. 

No. 6. Middle one forward, arms thrust 
up, then carry to position in front ; others re- 
sist. 

No. 7. Middle one forward, arms down 
at sides, those on right and left clasp hands 
back of middle one's neck, who is slowly 
lowered without bending the knees. 

No. S. Middle one forward, arms down 
at sides, those on right and left seize hand 
and wrist of middle one, who slowly arches 
body forward and back. 

No. 9. Middle one forwarcj, arms down 
at sides, those at right and left seize hands 
and armpit while middle one sits down, then 
change hands to top of shoulder while middle 
one slowly rises, resisting as before. 



Mutual Help Exercises. 51 

No. lo. Middle one bend forward, arms 
folded, while the others percuss shoulders and 
back. 

No. II. Middle one forward while the 
others percuss both arms, which are con- 
stantly turned. Let those on right and left 
in turn, change with middle one, and repeat 
the above exercises. 

Caution. 
Stand firmly, and be careful not to let the 
hands slip, as there is danger of the middle 
one's falling in exercise No. 7. The only 
music required is signals, like those used at 
the beginning of the wand exercises. 



BEAN-BAGS. 



These bags are made of stout bed-ticking, 
about ten inches square, and two-thirds filled 
with beans. They should always be kept 
away from the dust as much as possible. 

If these exercises are to be performed by 
couples, partners should stand facing each 
other, about six feet apart. Throw the bag 
to partner from chest with both hands, from 
chest with right hand, then with left. From 
behind the head with both hands, then with 
right and left. Bag behind the back, throw 
with both hands, with right, with left. Stand 
back to back, throw bag over hqad with both 
hands, with right, with left. Take two bags, 
throw them with right and catch them with 
left. Throw them with left and catch them 



Bean-Bags. 53 

with right. Throw them with both and catch 
them with both hands. 

Same exercises can be taken with three oi 
more bags as the skill increases. 

Vary the exercises by taking them in quar> 
tettes, standing a greater distance apart. 
Stand again in two rows down the hall, six 
feet apart and facing each other. Starting at 
the head with a bag in each leader's hand, let 
it be thrown to every other one till all have 
caught it, when it must be returned in same 
manner. 

The leader getting bag first on return trip 
should hold up bag as signal of victory. 
Stand in same rows, but face up the hall, 
then pass bag over head to next one in line, 
and so on to the last, and back the same way. 
Any number of bags can be used in tliis 
manner. 



MARCHING. 



This is the most fascinating form of all 
gymnastic work ; and with bright, interested 
leaders, an almost endless variety of exercises 
can be improvised beyond those I shall here 
describe. I can safely say that I alone have 
added a hundred changes to the first simple 
exercises, which I practised at school. 

As many as practicable will be given, but 
some are so intricate as to defy description, 
and can only be appreciated by being seen. 

Dancing steps of all kinds, and figures 
from quadrilles and the German can be in- 
troduced with beautiful effect. 

Position in Marching. 
In single file marches, hands should be 
placed on the hips, with thumbs turned back, 



Marching, 55 

head, shoulders and hips well back, chin 
down, and feet turned slightly out. In order 
to cultivate an erect and graceful carriage in 
walking, as well as in marching, too much 
attention cannot be paid to these directions. 
Throw the foot outward, and always rest first 
upon the toes more than on other parts of the 
foot. . Those who are inclined to turn one, or 
both feet in, can often overcome this habit 
by taking great pains during the gymnastic 
march. Never drag the feet, nor carry the 
hips forward, and always keep perfect time 
with the music. Good leaders should only 
be allowed to assist, as apart from the music, 
the success of the march depends upon their 
skill, self-possession, and above all, ability to 
keep those of the class wanting in time, in 
perfect step with the music. The position of 
the one at the rear is nearly as important as 
the leader ; for upon her devolves also the 
duty of keeping the class in good order, and 
allowing no laggards to fall out of step or 
line. 



56 Light Gymnastics. 

Some of the principal steps require a de- 
scription at first, as they are the foundation of 
all the figures used in marching. 

Leaping is running, only the steps are 
shorter, the knees more bent, and the weight 
thrown chiefly upon the toes. 

Skifpiitg is sliding one foot before the 
other, the leading foot pointing in the direc- 
tion about to be taken, and the other foot 
nearly at right angles with it. 

The short side step consists of hopping 
twice upon the left foot carried diagonally to 
the left, then twice upon the right, out at 
right side. 

The long side step. This is more difl[icult, 
and the left foot leads as before, but closely 
followed by the right foot just behind it ; then 
hop twice on the left. Now carry the right 
foot to the right, left behind it, then hop twice 
on the right. Rather long steps, almost, at 
the side are necessary. 

Short front step. This is like the short 
side step, only hopping twice on left, then 



Marching. 57 

twice on right, just in front instead of at the 
side. The waltz step, heel and toe polka, 
the racquet, the Evangeline quickstep, two or 
three twisted steps, which cannot here be 
described, must all be taken if in the double 
march in one way. Hands may be ci^ossed 
in front, or they may rest upon the shoulders 
of partners or neighbors ; but the leaping 
step must always be performed with hands 
closely clasped and lifted high. 

In pushing^ partners clasp hands, step 
four feet apart, and with unoccupied hand on 
hip push steadily, and march slowly in line 
to the foot of the hall. 

Pulling differs only in starting with feet 
near together, hands tightly clasped, and jduII- 
ing with full and equal strength down the 
hall. In all other double exercises it is right 
to have partners separate in front of platform, 
and each leader turning square corners, lead 
each line in single-file order up the side to 
upper centre, where partners again join. But 
in pushing and pulling, the one marching on 



58 Light Gymnastics. 

left crosses before her partner so as to take, at 
the other end of hall, the same exercise with 
the other hand. The easiest of all marches 
comes first, for a description. 

The Single File March. 

As the name indicates, all the following 
changes are to be performed by the class, 
led by the teacher, or some competent leader, 
in single file order. 

First, march up, down, and across the hall 
with shoulders and hips thrown back, and 
hands on hips. This position of the hands 
is to give uniformity in appearance, and to 
aid in expanding the chest, and should be 
carefully avoided except while marching. 
Take two or three turns about the hall to 
enable all to get into good position in the 
line, about two feet apart, and also in step 
with the music. Cross the hall from side to 
side, six or eight times, beginning at upper 
end of hall and ending close by platform. 
Cross the hall diagonally ; repeat on the other 



Marching. 59 

side. Turn, and march down the centre, 
rising on tips of toes ; again down centre on 
the heels ; again half way down on right heel 
and left toe ; the other half on left toe and 
right heel. March up right side of hall with 
body inclined to right, for half a dozen steps ; 
change to the left for the same time. March, 
beriding the body forward, then bend it back. 
March down centre without bending knees ; 
again bending knees, and keeping the body 
perfectly erect. Take the centre of hall again, 
and march half way down, bending to right, 
with left hand behind the head, the rest of 
the way reverse the position. Now march 
with toes turned out as far as possible, 
change, and turn the toes in. Exaggerate 
these exercises, as they employ unused mus- 
cles very advantageously. 

Form large circle by joining hands ; all skip 
to right, then to left : march to right, then to 
left ; leap to right, then to left. All stand, then 
rise upon the toes at first beat of music, and 
sit down on the heels on the second. Vary 



60 Light Gymnastics, 

this exercise, if the class is a large one, by 
forming four circles, one within the other, 
one leader standing alone in centre. Then re- 
peat the rising and sitting exercises just per- 
formed in large circles, only every other circle 
rise while the other sits. Every other circle 
skip, while the others leap ; then half march 
one way while half leap the other ; or one 
half leap, while the other skips. All, while 
in this position, stand still for a moment, then 
stamp alternately left and right feet with the 
music, and march evenly to centre. Stamp 
again, and all retreat evenly until extended 
in former position in the circles. Lift hands 
high, and all leap to the centre, then all 
march softly to centre, and back to place. 
Break the circles, and with leader at head 
form again in single file, and march half way 
round the hall with arms clasped behind the 
back, then behind the head the other half of 
distance. Change to the centre of hall, leap 
down in single file, of course, and again with 
longer steps. Again with short or long side 



Marching. 61 

6tep. The heel and toe polka, waltz step, 
and other dancing steps can be at any time 
introduced, always remembering to put an 
easy step or exercise between the difficult 
ones. 

Wind the class up in what is called a 
" Labyrinth," which is marching in slowly 
diminishing circles till the leader reaches the 
centre, when she makes a short turn, retrac- 
ing her steps, closely followed by the whole 
class. Each person must keep two feet from 
the one in front, and avoid contact with any„ 

Another pretty change is to cross the up- 
per end of hall, marching, turn, cross, leap- 
ing, next march, next skip, next march, and 
so on until the foot of the hall is reached. 
March for a short time down the hall with 
both hands on shoulders of one in front. 
Repeat, taking leaping, short and long side 
steps. The latter step • is particularly pretty, 
taken in this way. While the hands are still 
resting on shoulders various turns and curves 
about the hall may be taken, with quite re- 



62 Light Gymnastics. 

markable effect ; and a capital exercise, while 
hands are in same position, is to keep very 
close together, and march after the style of 
convicts in the prison-yards. This will do 
more to give an idea of step and time than 
any other exercise. Vary, by taking a long 
step diagonally to right, another to left, keep- 
ing perfect step and time with the music. 

Regular or Double March. 

For this march partners should be chosen 
with regard to equal size and strength ; and 
in forming pains should be taken to place the 
tallest and strongest at the head. 

It is well to begin by marching arm in arm 
once around the hall ; then stopping for a mo- 
ment at the upper end, join hands and begin 
with any of the simpler exercises, such as 
skipping slowly down the centre, separating, 
and marching up the sides in single-file order, 
where partners again meet. 

Take in turn leaping, pushing with both 
left and right hands, leaping with longer 



Marching. 63 

steps, pulling with both left and right hands ; 
then the side steps, both short and long, and 
two or three of the dancing steps that are now 
understood by nearly all young ladies in 
school. Many easy changes with the skip- 
ping step can be introduced between the 
more diiiicult exercises ; as for instance, skip- 
ping down the hall face to face with partner, 
four feet apart ; again, and clap hands in time 
with the music ; again, skipping four steps 
face to face with partner, then reversing four 
steps, and so on to the end oi the hail. Skip 
down the hall shoulder to shoulder with part- 
ner ; skip with the hands in front lowered, the 
other hands lil'ted. 

Still another way : start shoulder to shoul- 
der, skip diagonally to the right four steps, 
then to the left four steps, meeting partner, 
or skip in different directions at the same 
time four steps and turn, then skipping four 
eteps toward partner, joining on the fifth. 

After leaving partner at foot of the hall, 
always turn square corners, and keep the line 



64 Light Gymnastics. 

on the side in perfect order. The diagonal 
figure is formed by stopping at the upper 
corner of hall, then marching to the centre, 
where partners touch shoulders, separate, and 
again march diagonally to opposite corners. 
This may be repeated, and instead of touch- 
ing shoulders on meeting, each one passes in 
front of her partner, and marches on as 
before. This is a figure that can be made 
even more attractive by being performed by 
couples instead of singly. 

March down centre of hall, and at the foot 
both leaders turn to the right, the next couple 
to the left, and so on, every other couple fol- 
lowing the leaders to the right. Meet at the 
head of hall, and march down four abreast, 
keeping perfect step and time, and a straight 
line must always be preserved. Next time 
leap four abreast, with hands lifted, and head 
and shoulders well back. Again, skip by 
fours, joining the two hands in front down 
low, and the other hands very high. March 
with hands clasped and arms extended at full 



3f arching. 65 

length. This is a very simple but effective 
exercise, and a restful one. 

Next, take the side step by fours, and in 
this exercise better support can be given by 
placing hands on shoulders. The long side 
step should also be taken this way, and taken 
alternately by fours, the first four leading to 
the right. 

It is well, while taking steps four and eight 
abreast, to reverse at foot of the hall, and 
march back, reverse again at the head of 
hall. 

Other exercises that can be taken by 
couples, are the following : Leap backward, 
march backward, lifting clasped hands very 
high, and taking care not to step on the feet 
of those before. Join right hands, one skip 
while the other leaps. 

March at arm's length, march with hands 
lifted high, then return under the uplifted 
arms, or turn and march up the hall close be- 
hind the line, and leap down the centre. 
When marching four abreast a pretty figure 



66 Light Gymnastics, 

is formed by wheeling by twos at the foot of 
the hall, marching up close behind the line 
to the upper end, where all turn face to face, 
and at the same time face across the hall, 
about four feet apart. All join hands, stamp, 
and march to the centre, wliere four from the 
head of inner line join hands, and skip by 
twos down between the lines. Meanwhile 
all stamp and approach again, and four more 
go down the centre. Repeat till all from in- 
side are back in position just behind their 
partners. Repeat, stamping and approaching 
four steps, while the other line skips down 
the centre by twos. Lead off from the top by 
twos, and march slowly round the hall to 
rest. 

The old dance called Sicilian circle, can be 
introduced for sake of variety, and the order 
is as follows. While marching, every other 
couple face in the opposite direction. 

1 St. Four hands round, turn quite to place. 

2d. Ladies' chain. 

3d. Right and left. 



Marching. 67 

4th. All four cross hands in the centre, 
swing half way round, and back to place. 

5th. Forward and back, forward and back 
again, pass through, meeting the next couple. 
Swing four hands round, and so on, repeating 
till the leaders have made the circuit of the 
hall. 

A difficult, but beautiful figure, consists of 
the gradual and perfect changing from single 
file on the side to four, eight, and sixteen 
abreast. Then reverse, thus bringing the 
class back into single file order. This re- 
quires skilful leaders, and much practice to 
bring about a satisfactory result. 

While marching four, eight, and sixteen 
abreast, the hands should be dropped at the 
sides, shoulder against shoulder, keeping close 
to next neighbor. 

Another very pretty figure is to form a hol- 
low square, in the following manner : — 

Let the class form eight abreast at head of 
the hall, and march slowly down once, keep- 
ing the lines six or eight feet apart ; separate, 



68 Light Gymnastics. 

and wheel by fours at the foot of the hall ; 
march still more slowly from the head until 
half way down the centre. The first line of 
eight stand still, only marking time with the 
left foot, while the second line wheels to the 
right, the third line to left, and the fourth 
closes up, making the square complete. If 
there are more than the thirty-two compris- 
ing the square, in the class, move this square 
lower down the hall, and form one or more 
above it. 

While marching eight abreast, instead of 
separating by fours at the foot of the hall, a 
pretty change is effected by having the class 
all %ce to the right and march off', one line at 
a time, single file, until all are in line on the 
the side of the hall. Another way is to swing 
the first line to the right, the second to the 
left, and so on, till all are at the sides. 

The lines must be kept perfectly straight 
while wheeling to right or left. The one at 
end of line in centre remains almost station- 
ary, while the one at the opposite end moves 



Marching. 69 

quite rapidly. Always remember, in this and 
in all other large figures to face a little to the 
left, keeping close to the next neighbor. 

When classes do not number over thirty, it 
is best to keep them all in one company, but 
for a much larger number it is easier and 
prettier to divide the class equally. Place 
good leaders at the head of each division, and 
keep the two lines about eight feet apart, 
leading from the head of the hall, as in ordi- 
nary marching. Part of the time let both 
companies take exactly the same exercises at 
the same time ; then change, and give the 
leaders an opportunity to see how many dif- 
ferent changes they can recall, and originate. 
Never allow one leader to use the same exer- 
cise that the other is taking at the same time. 

The wheel is one of the handsomest of the 
large figures, and not at all difficult. 

Move the class very slowly, four abreast, 
nearly down the hall. Let all those who are 
at the end of lines on the right keep almost 
immovable, while the rest march slowly 



70 Light Gymnastics. 

about the hall. Each line forms a spoke in 
the wheel, and those at the " hub " must join 
hands or touch shoulders in order to keep 
well together. After turning twice round 
the hall, the leader at the end of first line 
marches slowly up the side of hall, followed 
by end one from each line. In the mean time 
the wheel continues to turn, and on the second 
revolution, all again from the ends, follow the 
second leader. So continue till the class is in 
four long lines, one within the other, and 
marching very slowly. All pay strict at- 
tention to the leaders, who soon form four 
abreast, and followed in same way by the 
whole class, march quite round the hall. 
This is a good time for singing, which is one 
very important and pleasing feature of th? 
Gymnasium. Clasp hands behind the back, 
or extend the arms, resting hands upon neigh- 
bors' shoulders, and sing with all the spirit 
and strength possible. 

Sing once during every march, and let it be 
a time for slow, restful figures, or for the last 



Marching. 71 

two or three turns about the hall before the 
class is dismissed. When the class is large 
several more difficult figures can be formed. 

One of these is called the pyramid : 
While marching single file, the leader 
rests half way down centre of hall, two 
stand behind her, three next, four next, and 
so on, till all the class are in position. Face 
to the right, leader march off first, followed 
by each line in turn till all are again in single- 
file order. Always repeat this. 

Another is called the double cross, and is 
formed in this manner : — 

From the head of the ball while marching 
four abreast, four lead down centre single 
file. The next four wheel to right, next four 
to left, joining eight abreast behind the first 
four. Then four more lead single file, four 
wheel to right, four to left, and so on. If 
the class is very large eight should lead, fol- 
lowed by sixteen. While marching down 
the centre sixteen abreast, it is very good 
practice to separate, wheel eight each way, 



72 Light Gymnastics. 

again separate on the side, march four 
abreast, separate, march two abreast, and 
from head of hall march in single-file order 
down centre. 

To cultivate attention and promptness of 
action, when starting with partners, march a 
few steps, reverse, each dropping the arm, 
and turning toward partners, march on a few 
steps in opposite direction, skip a few steps, 
reverse quickly and march. Reverse again, 
and leap ; reverse, and skip ; reverse, and 
march single file. Change quickly back to 
partners, then to single file again, to four, 
eight, and sixteen abreast ; then back to single 
file or partners again. March with partner 
from head of hall very slowly. After a few 
steps the next couple separate, right one step- 
ping to right of leader, left to left of other 
leader. Third and fourth couples separate a 
little later, each, and join in the same man- 
ner. Then the leaders from the next eight 
step forward, next couple separate, and so on, 
till the class is marchins: eieht abreast down 



Marching. 73 

the hall. All wheel to right, and march 
down centre with hands crossed behind the 
back. Always repeat this. 

Ring March. 

Choose partners, and each one carry a ring 
in the right hand. Select such exercises as 
have already been described that can well be 
performed with rings. Join rings at upper 
end of hall and pull once, return and pull 
with other hand. Push with right and left, 
then with both hands. 

Join hands four abreast, and take leaping, 
skipping, and all the side and front steps. 
Cross hands, with rings in front, and take the 
waltz, heel-and-toe polka, or any of the be- 
fore-mentioned dancing steps. Take them in 
couples, or four, eight and sixteen abreast. 
Join rings, and march down the hall with 
rings and hands extended ; reverse, and leap 
back with hands uplifted. 

All the exercises given for the single-file 
march, particularly in circles, are more effect- 



7 4 Light Gymnastics. 

ive when performed with the rings. What 
is called the basket figure in quadrilles, can 
be well introduced ; and an extremely pretty 
figure is formed by joining rings throughout 
the class, keeping in single-file order, and 
wind up in the labyrinth, or carry the line in 
serpentine curves about the hall. Another 
change may be introduced in this way : Form 
a line on each side of the hall, leaders stand- 
ing just at the upper end. Join the rings, 
raise them high and leap to the centre. 
When the two lines are exactly face to face, 
drop hands to position on the hips ; all face 
quickly down the hall and march single file 
till the lines are again in position. Cross the 
hands with rings in front while standing in 
same position, and march carefully till both 
lines meet ; then face down the hall and march 
round to upper centre, join partners, and drop 
rings at sides. Form two large circles ; while 
all in one circle lift the hands and rings high, 
the leader of the other breaks her circle, and 
passing under the uplifted hands of those 



Marching. 75 

nearest her, leads her company in and out 
between every other couple till she brings her 
circle back to place, with hands uplifted. 
The other leader repeats this exercise. 

Wand March. 
The wand is held in right hand resting 
against right shoulder, left hand always down 
at side instead of on the hip. The music, as 
a rule, should be slow, and regular march 
time is better than the quicker music used for 
the fancy steps and dancing figures of the 
marches. Of course many of the changes 
already given can well be introduced here ; 
but there are many others peculiarly adapted 
to this style of marching, and effort should be 
made to make it as unlike the ring, single file 
and double marches as possible. March slowly 
round the room by twos ; reverse, march by 
fours ; reverse, by eights ; reverse, back to 
fours, back to two abreast, still marching 
round the room and not down the centre. 
Partners march side by side with wands be- 



76 Light Gymnastics. 

hind the shoulders, behind the head. Join 
the hands in front, leap down the centre with 
hands in that position. Down the centre 
again with longer leaping steps, and with 
hands and wands uplifted. 

Skip with wands joined between partners, 
and pointing up and down the hall. March 
down centre two feet apart with wands lifted 
high over head. Meet again at head of hall, 
step four feet from partner, touch ends of 
wands high over head. The next couple 
pass under them, taking same position just 
beside the first couple. All follow till a loDg 
bridge is formed, under which the class fol- 
lows the leader. Another somewhat similar 
exercise is formed by marching slowly down 
the hall with wands joined and lifted as high 
as possible, and at the foot of the hall turning 
and passing under the wands of the whole 
class. Partners separate at foot of hall, 
march in single file up the sides, stop at 
upper corner, all face across the hall. 

Mark time with left foot, face the left, and 



Marching. 77 

at the word of command from the leader all 
march (starting with left foot always) to the 
centre of hall. On reaching partners, face 
down the hall, and march down and separate 
as usual. 

Another way, upon meeting in the centre 
face to face, is for each to pass to left of part- 
ner, and cross the hall, keeping the line as 
straight as possible. Reverse, and repeat the 
order, marching across the hall, and the 
diagonal changes have a pretty effect with 
the uplifted wands. 

Pass into single-file order, partners resting 
their wands on each other's shoulders. Lift, 
and return the wands to that position twice. 
Drop wands down at sides, raise to perpen- 
dicular twice, then from shoulder at side, and 
to horizontal at side twice. 

Again from overhead down to shoulder 
twice. Zigzag across the hall, wind up in 
the labyrinth, form a circle, and then all face 
to the centre, and charge with wands, first 
right, then left, as in the regul.ir wand exer- 
cise: 



78 JAglit Gymnastics. 

All march to centre of circle stamping, 
return softly to place. All face out, and 
charge as before, left, then right, pointing the 
wands diagonally forward each time. 

March single file half-way up the hall, on 
each side. 

Turn square corner, and four from each 
line march to centre of hall, where they re- 
main standing face to face. 

Four more pass in behind them, and so 
continue till all are standing in the same 
position. The leader, giving a signal, marches 
with partner out and down the hall, fol- 
lowed by class, two by two ; each in turning 
must march into the leader's place before 
starting down the hall. The wheel formed 
while marching with wands has a good effect, 
and only one difference must be observed : 
the hands must be dropped down at sides 
instead of joining one wit'i next neighbor. 

Cautions. 

Never march too long. 

Never march when tired. Pupils are very 



Marching. 79 

apt to think that as marching is more enjoy- 
able than other exercises it can be taken when 
too tired to do anything else. 

While marching with rings the utmost 
pains should be taken not to move swiftly 
when they are joined, as in circles ; and while 
the wands are used there is some danger of 
hitting those behind with the wand while 
changing its position at foot of the hall. 



CHAPTER ON DRESS. 



Much thought and consideration have been 
bestowed upon the preparation of a suitable 
gymnastic dress, which should combine all 
that is most needful for a warm, properly 
fitting, and withal, cheap garment. In ad- 
dition to the careful examination of different 
styles of dress, as worn in the classes of Dr. 
Lewis, and many others, I have had the per- 
sonal supervision^ of all the gymnastic suits 
made for the students of Smith College, for 
the past six years. I feel justified, therefore 
in saying, as the result of such experience, 
that I* have at last a model, which if always 
properly made, is very nearly perfect. This 
dress is so simple that with the following 
carefully prepared directions and measure- 



Chapter on Dress. 81 

merits, it can be easily made at home. The 
best material is coarse, but not thin, twilled 
flannel. This hangs and wears better than 
any lighter, handsomer goods. A sufficiently 
good quality can be purchased at wholesale 
from thirty to thirty-five cents per yard ; at 
retail from thirty- five to forty cents. All 
things considered, dark blue is the color to 
choose, provided you can get a shade that 
will not crock badly. All blue and some 
other colors are more or less uncertain, but 
there is a great difference in this respect. 
Take a sample and test, by rubbing vigorous- 
ly on white cloth. A thin lining cambric can 
be used to advantage on this account for the 
waist and sleeves only. It is desirable for no 
other reason, as the dress is sufficiently warm 
without it. Suits of this material of ordi- 
nary width require from seven and a quarter 
to eight and a half yards, according to size of 
wearer. With the first named amount for a 
person of medium size, the flannel drawers, 
which always accompany this dress, must be 



82 Light Gymnastics. 

pieced at top with cambric, and many prefer 
this way, while with eight and a half yards 
for a person of the same size, there will be 
material sufficient to make the drawers en- 
tirely of flannel. These drawers are essen- 
tial for warmth, and are much less conspic- 
uous than those ordinarily worn, which these 
of course entirely cover. They should be 
long enough to reach a little below the knee, 
where they are confined by elastic cord, and 
show very little, if any below the dress. The 
skirt should be trimmed with a plaited 
flounce five or six inches deep after it is 
finished ; placed not on the skirt, but at the 
low^er edge, as seen in frontispiece. This 
flounce should be stitched on a little below its 
upper edge, to afford a heading. Several 
rows of white, red or old gold braid above 
the flounce add to the effect, and the same 
trimmings of course on the 'waist, collar, 
cuffs, belt and pocket-laps, with buttons to 
match. 

The whole cost of such a dress is six dol- 



Chapter on Dress. 83 

lars and twenty-five cents. Deduct from this 
two dollars and a half, the usual price of 
those who make up such dresses by the quan- 
tity, and the expense of one gotten up wholly 
at home would be three dollars and seventy- 
five cents. This is when the goods are 
bought at wholesale price. The great mis- 
take is often made of overtrimming, thus 
adding to the cost and weight of a dress 
whose leading characteristics should be dura- 
bility and simplicity. It is far more eco- 
nomical to have classes w'ear a uniform. The 
suits are then cut to much better advantage, 
while the class will make a finer appearance 
as a whole, than if individual taste was 
allowed. Everything depends upon the cut- 
ting and fitting of such dresses. The skirt 
has one plain breadth in the back, one slightly 
gored in the front, and a gore on each side. 
The length of the skirt after the flounce is on 
should invariably be seven inches from the 
floor at the back, and eight inches in front. 
A longer skirt is difiicult to manage, and 



84 Light Gymnastics. 

a shorter one awkward and unnecessary. 
Width of skirt two and one-fourth yards. 
The waist is quite loose, and long enough 
under the arms to enable the wearer to thrust 
the arms directly up without drawing upon 
the waist belt at all. There should be plenty 
of room across the chest, and the shoulder 
seam measures just six inches in length. 
After the sleeve is in, a small plait just above 
the top of the sleeve is made, reducing the 
length of the shoulder scam to exactly five 
inches. This gives all the breadth required, 
and the plait enables the wearer to lift the 
arm without restraint, and greatly imjDroves 
the appearance of the figure. The sleeve is 
what is commonly known as a shirt sleeve, 
being perfectly straight, and having the in- 
side seam slightly shorter at top and bottom 
than the outside. It is prettiest when finished 
with a deep turned-over cuff, trimmed with 
braid, and three or four buttons up the back. 
A sailor or any large collar is used. If the 
belts are trimmed with braid, or to match the 



Chapter on Dress. 85 

rest of the dress, there is no necessity for out- 
side belts, as the skirts are sewn firmly to the 
waist, and a pocket inserted in the old-fash- 
ioned way in the right side seam, with cover 
or lap trimmed with braid and buttons. 
Bands of soft woollen in gold, crimson or 
white can be substituted for the braid, which 
is, however, the simplest and cheapest form 
of ornamentation. A short white or flan- 
nel skirt must be worn always, and stockings 
of dark blue, cardinal, or black are in the best 
taste. While strapped slippers or low shoes 
can be worn with propriety, an easy broad- 
soled, low-heeled buttoned boot is by far the 
best. The old-fashioned low slipper offers no 
support to the ankles, vvhich are often, in 
consequence, liable to sprains during the 
marching and dumb-bell exercises. High 
heels and corsets are the two great evils to be 
avoided, and it seen'is utterly absurd that any 
sensible girl should need a word of caution 
in regard to what is so obvious a drawback 
to all movements in the direction of health, 



86 Light Gymnastics. 

whether it be exercise in the Gymnasium, or 
out of doors. A thick, well-fitting, but loose 
under-waist should take the place of all forms 
of corsets, and the shoe which is destined to 
be habitually worn in the Gymnasium is low, 
broad, made of soft serge, tied over the in- 
step, and with very low heel. In these all 
difficult steps can be taken with ease, and 
walking and running can be performed as 
naturally as by boys. How many can boast 
of having seen a young lady of the period run 
with ease and grace? and not one in twenty 
of our school girls walks with erect and 
graceful carriage. Tight dresses, heavy skirts 
and high-heeled boots can certainly be all 
done away with in the Gymnasium, and this 
movement in the rieht direction ousfht to lead 
to reform in all home and street dress. 

One word more of caution in regard to 
dress after exercising. If necessary to go at 
once into the outside air, a cloak or long dress 
skirt and wrap of some sort should be put on 
over the short dress, while in winter over- 



Chapter on Dress. 87 

shoes, or some other protection for both feet 
and ankles, must be added. Simple as are 
these precautions, many will fail to use them 
unless repeatedly urged to do so ; and the 
colds that often follow such unnecessary ex- 
posure only serve to convince those not 
favorably disposed to these exercises of their 
dangerous character. 



GYMNASTIC MUSIC. 



As soon as a good musician becomes ac- 
quainted with the exact time required for the 
different exercises, almost any air can be 
adapted for each and every one of them. 

At first, however, it is necessary to have 
some special music that can be easily pro- 
cured at any music store. 

The following list contains only such selec- 
tions as have been thoroughly tested in the 
College Gymnasium : — 

Free Gymnastics. 
" Northern Route," Galop, by Charles Smith. 
Chorus, " Good Night," from Evangeline. 
March, from Boccacio. 
"Just Once More," Galop, 



Gymnastic 3Iusic. 89 

"Jolly Brothers," Galop. 

"Triton," March. 

" Pizzacata," Polka, by Strauss. ■ 

Wands. 
" Haymaker's," Schottische, byW. A. Briggs. 
This is the only music that can be fully 
recommended for the Wands. 

Rings. 
" Blue Danube " Waltzes, by Strauss. 
"Artist's Life," Waltz, by Strauss. 
Selections from " La Mascotte." 

For the Quartette Exercises^ with Rings : 
" High Life is Splendid," 
" Saratoga Waltzes," by Bowles. 

Dumb-Bells. 

" Academic " Waltzes, by Strauss, 
" Autograph " Waltzes, by Strauss. 
" Thousand-and-one Nights," by Strauss. 
Waltz, Lanciers, by Dodworth, 



90 Light Gymnastics. 

" Boston Dip,'" Waltz. 

" Annie Laurie," and other Scotch airs 



For the Anvil Chorus : 
Anvil Chorus, from II Trovatore. 

Marches. 

" Triton," March, by Bowles. 

Racquet Galop, by Kate Simmons. 

" Queen's," Polka, by Raff. 

" Switzer Boy," College Song, 

Vocal Lanciers. 

Virginia Reel. 

" Life let us Cherish." 

Secret Love. 

The Caledonians. 

Turtle Dove Polka. 

"Queen's," Polka. 

"Puck." 

Heel and Toe, from " Fatinitza.'' 

" Northern Route," Galop. 

" Soldier's Joy," College Song. 

" Life let us Cherish." 



Gymnastic Music. 91 



March, from " The Pirates." 
The " Pirate's Serenade." 
March, from " Faust." 



INDIAN CLUBS. 



Many of the club exercises, as given in our 
regular gymnasiums, are exceedingly difficult, 
and are not practicable in class drill for young 
ladies and children. For this reason, there will 
here be introduced a few only of the more 
simple exercises, such as can be used with 
music. 

The size of the club should always be the 
first thing considered : eighteen inches long, 
and three inches thick, for young ladies ; fifteen 
inches long, and two inches thick, for children. 

The club exercises, in some respects, differ 
widely from all others. 

They are chiefly useful in cultivating en- 
durance : they bring into play and greatly 
strengthen the muscles of the neck and 
92 



Indian Clubs. 93 

shoulders. They also aid greatly in over- 
coming the habit of stooping. 

These movements should always be taken 
more slowly than other exercises, and the 
times of rest should be more frequent. 

Great effort must be made to secure a 
straight line in the arm and club, both for 
appearance' sake, and to get the full value of 
the exercise. It will be found more difiicult 
to obtain accuracy with the clubs than with 
dumb-bells, wands, or rings. 

Exercises. 

No. I. Clubs held firmly down at the sides. 
Carry the right arm, without bending the elbow, 
up to the horizontal in front, then back to first 
position. The left arm performs the same. 
Then both arms together, twice. 

This fills a strain of music, as all the move- 
ments are made on accented beats only. 

No. 2. On the last unaccented beat of the 
last strain, bring both arms into the horizontal 
posiiion in front. Starting with them in that 



94 Light Gymnastics. 

position carry the right arm from the horizontal 
in front, to the perpendicular over the shoulder, 
and back again to the horizontal, once. Left 
arm, the same. Both arms together, twice. 
This completes the strain. 

No. 3. Let the clubs fall on the last unac- 
cented beat into first position, down at sides. 
Now bring the right club from this position to 
the perpendicular over the shoulder, and back 
again, once. Left club, the same. Both clubs 
together, twice. 

No. 4. Starting in the first position, carry 
the right club to the horizontal, directly at the 
side, and back, once. The left club, the same. 
Both together, twice. 

No. 5. On last unaccented beat of last 
strain carry both clubs into the horizontal at 
the side. Now raise the right club and arm 
into the perpendicular over the shoulder, and 
return to the horizontal, once.^ Left club, the 
same. Both clubs together, twice. 

No. 6. On the last unaccented beat of the 
last strain, drop the clubs to first position down 



Indian Clubs. 95 

at sides. Now carry the right club through the 
side sweep to the perpendicular, over the shoul- 
der, and return to first position. Left club, the 
same. Both clubs together, twice. 

No. 7. Starting in first position, raise the 
right club to the horizontal in front, and, at the 
same time, raise the left club to the horizontal 
at the side: Now bring them both back to first 
position. On the third beat, carry the right 
club up to the horizontal at the side ; and the 
left club to the horizontal in front. Back to 
first position. Repeat these two movements, 
which will complete the strain. 

No. 8. On the last unaccented beat of last 
strain, bring both clubs into the following posi- 
tion : the right club horizontal in front, the left 
club horizontal at side. Carry the clubs to the 
perpendicular over the shoulders, then bring 
them down to the horizontal again, but let the 
right club fall into the last position of left, 
and the left club into position of right. In 
order to complete the strain of music, repeat 
the whole of this exercise. 



96 ^ Light Gymnastics. 

No. 9. Lift the right club to the perpen- 
dicular over the shoulder, left club to the 
horizontal in front, change position evenly, 
throughout the strain. 

No. 10. Lift both clubs to the perpendicular, 
over the shoulders, bringing them both down 
to the horizontal in front, and on the next beat 
carry them slowly in same line to the horizontal 
at the sides. On the next beat carry the clubs 
up to the perpendicular over the shoulders ; 
on the next beat, to the horizontal in front ; on 
the next beat, again to the horizontal at the 
side ; on the next beat, again to the perpendic- 
ular over the shoulders ; on the next beat, to 
the horizontal in front ; on the next beat, to the 
perpendicular over the shoulders. 

No. II. On the last unaccented beat of the 
last strain bring the clubs into the horizontal 
position in front. Holding the arms firmly in 
this position, without bending the elbows, carry 
the right club, by a slow turn of the wrist, over 
upon the right arm, letting it strike the wrist 
and arm ; then on the next accented beat carry 



Indian Clubs. 97 

it back again to the extended horizontal posi- 
tion in front. The left arm performs the same. 
Both together, twice. 

No. 12. On the last unaccented beat of last 
strain, carry the arms around to the horizontal 
at the sides, holding the arms firmly in that 
position ; by a slow turn of the wrist carry the 
right club over upon the right arm, as in last 
exercise ; then on next beat carry it back 
again to the extended horizontal position in 
front. Left club the same. Both together, 
twice. 

No. 13. At the close of last exercise bring 
the clubs back again to the horizontal in front, 
and holding both arms firmly in this position 
lift both clubs to the perpendicular : all of this 
must be done on the last unaccented beat of 
last strain. Now on the first beat let the right 
club fall directly outward at right angles with 
the arm, down to the horizontal, and then 
bring it back to the perpendicular. Left club, 
the same. Both clubs together, twice. 

No. 14. 'Extending the arms to the horizon- 



98 Light Gyrtmiastics. 

tal in front, the clubs perpendicular ; let the 
right club fall down to the horizontal at right 
angles with the right arm, and towards the 
other hand. Carry it back again to the per- 
pendicular. Left club, the same. Both clubs 
together, twice. 

No. 15. On the last unaccented beat of last 
strain, bring the arms around to the horizontal 
at the sides, the clubs being held in the per- 
pendicular attitude. Now let the right club 
fall down into position of hanging behind. 
Keep the arms exactly horizontal, and bring 
the clubs back again to the perpendicular at 
sides. Left club, the same. Both clubs to- 
gether, twice. 

No. 16. Holding the arms horizontal at the 
sides, with the clubs perpendicular, repeat the 
last exercise, except that the clubs must fall 
down in front instead of behind. 



